Happy love tea, and tea in me is not at all elegant. Happy love on tea is due to smoking cessation, tea is not as strong as smoke, tea is a good companion for you when you think about it, but when you don’t want it, it will never come out forcefully to harass you. Happy love on the tea, gradually happy love on the tea set, preserve the tea set – this is the creation of tea set has so deep and so wide artistic. The love and preservation of tea sets made my love of tea become artistic, and my love of tea also became elegant, inadvertently sowing a love of joy and excitement full of love (as for the gradual enjoyment of tea after the Zen to benefit me more is later).
My tea collection is from the purple sand pot, so far my most care of the tea collection is also the purple sand pot, as for the past two years the purple sand pot has been fried, the price has soared, the beauty is all accidental “gains”. I have a little experience keeping teapots. One is to buy the works of peers, most of the works of peers you can understand (it implies that you have the era and age of contact with the passion, ideas), and not so expensive; The second is to buy “useful” works, you are willing to put at home, and a few times and repeatedly use will not be tired of the works, is a good work, do not always want to depreciate, first of all, you are willing to it ugly your life, enrich your life; The third is to buy a full display of craftsmanship and patience of the work, if it is the pot maker patience to do, to make my own skills of the work, show the painter’s highest skill, it must be a good work. Besides, I teach experts whenever I get the chance. Liu Qiuping, Zhang Dacheng, Cheng Yong and other tea industry leaders and preservation industry ancestors, antique appreciation industry experts, I often visit and teach, slowly formed a certain preservation character. I buy a pot has a few criteria: first, the material should be genuine, non-high-grade purple ore material is not eye-catching; Second, it is suitable for use, the air permeability is not safe, the gas density is not good, the soup is weak, and the tea can not be made. Third, the feel is good, the pot is used to hold the hand, and the pot to talk very happy to have a close fate, end up excited, hold the time of soft hand, in short, the hand should be affected by the excitement, the eyes are happy and the hand is not happy. Fourth, the situation should be simple, that the so-called renovation of the flower cat fox whistle, strange and strange “situation” work, I do not want. It’s easy to play with the concept and the situation, to do a good job of the vegetarian style, with the classic style, to do a good job of the classic style that others have done for hundreds of years, and to put it in front of the pot of the masters without showing your shyness, that is called skill.
Gradually, 7, 8 years down, actually gathered a hundred calabres, looking back, are also suitable for my preservation character, did not buy let me regret. Some time partners fancy, want to exchange, or legend legend rumors of a friend out of good tea, give him a handful, always send thousands of tinning, want him to promise not to give others, must use myself, if not happy hobby, ten thousand also return to me, only willing to hand.
In my collection, what I am most attracted to is not the works of those masters, but the works of Yixing teacher Shao Yunxiong. Shao is the same age as me, born in a family of Yixing pottery art, influenced by pottery culture since childhood, and well versed in the essence of traditional purple sand craft. In the 1980s and 1990s, he went to the core Arts and Crafts Academy for training many times, and was influenced by Western art, especially Western ancient art. Engaged in ceramic modeling design and sculpture design for 20 years, I say that his works are beautiful without losing the exquisite, primitive without losing the avant-garde, technical renovation and artistic fantasy connected. Old Shao is good at drinking, we in a partner for him to host a work exhibition familiar with the future, became a drinking friend, old Shao wine good, we all the way to Sichuan drive, in the Hailuogou Kangba Tibetan home drinking, his wine to the Tibetan villagers to tame, late at night, wine stop people want to break up the hour, Tibetan old suddenly decided to slaughter sheep late at night to entertain us drinking tonight, at the moment to think, Who is the fact of the time is how to drive past, really a little scared, often the first night drinking 80% drunk, the next day also drove on the mountain road roundabout. Once, when he sent me home after I was drunk, my wife scolded him to his face and forced him to cut his head, not only did he not get angry, he apologized all the way and left, and called me again the next morning to apologize, as if I was drunk and it was his fault.
Shao Yunxiong is not satisfied with just responsibility, nor is he satisfied with tradition. There is a wish in my heart that purple sand art can be connected with ancient home decoration, integrated into ancient life, and become part of the ancient “scene”. Over the past few years, he specialized in purple sand hanging plate, built a diameter of 1.2 meters “first in the country” large purple sand hanging plate, he wants to use “big beauty” wind to exceed the history, beyond the purple sand art advocating small, clever, fine tradition; After the process of pan creation, purple sand is no longer just a literary play for noble people, but also a complete “home decoration” that can be carried by ancient life.
At the same time, he made purple sand become the foreword of carrying poems, books and paintings, and implied the charm of calligraphy, painting and poetry of modern masters on the hanging plate. In his hands, the hanging plate was not only pottery art, not only an art that distributed the energy of purple sand, but also a comprehensive art linking poetry, calligraphy and painting. Through the process of this kind of strength, Shao Yunxiong let zisha out of the traditional literati style of small six, into the organ of large-scale, implied macro art. He is a test artist, he connects purple sand and lacquer art, he tries the art of ancient ceramic glaze splicing, and uses it in purple sand technology, he sinks into purple sand pile paste technology, and lets it graft with ancient art, and re-shine.
I have a lot of POTS, but I use the most is he built a round beadpot, round beadpot is a traditional fancy, belongs to the use of the pot, need to flash the use of energy, also simply, the hand of this pot is very perfect, there is a skin-like soft and warm feeling. To say that traditional style cannot contain the creativity of the creator, it is a complete problem of differences. This pot is a work that represses creativity to the extreme and then releases it to the extreme on the basis of cruel traditional style restrictions and co-use restrictions. It can be said that it contains a double extreme artistic creativity, and its shape is to achieve the ultimate artistic requirements such as fluency. At the same time, the air tightness and other utility to achieve the extreme, his profound skills are expounded here to the extreme, and in the carving of two small fish, it shows the literati charm of each fat person.
I do not know how old Shao’s artistic road will go, and I am not interested in his inexhaustible depreciation of his works in the past few years, I am interested in the relationship between art and a person, compared to a time when old Shao came to Shanghai, he said that he did not drink alcohol, because drinking affects his creation, he did not concentrate on creation after drinking, how can wine and art be connected? For the great art dedication, in the old Shao where the general situation is to quit the bar, I said, for purple sand art needs light Yang, drinking culture also needs light Yang ah.